Creating films that focus on contemporary issues often leads to the expectation that they will eventually lose their significance.

“Yet it’s disheartening that, almost four decades later, this film has gained even greater unsettling relevance,” remarks writer-director Ahmed Alauddin Jamal as he reflects on his work, which he believes sheds light on the persistent housing crisis in London, both historically and currently.

In 1987, the London-based filmmaker crafted a poignant and straightforward story about a British Bangladeshi family rendered homeless during the mid-1980s, aiming to illuminate the struggles faced by migrants.

Recently, “Hotel London” made its debut at the London Film Festival after being remastered for a British Film Institute archival initiative.

The narrative follows a young family grappling with the grim reality of unstable temporary accommodations in the capital, set against a backdrop of escalating homelessness and racial tensions.

After being placed in a bed and breakfast by local authorities, the family meets individuals from diverse backgrounds also awaiting housing—among them, a young Jonathan Pryce portrays an Irish rough sleeper navigating the streets of London.

The film was shot on location at bed and breakfasts following extensive research with those experiencing homelessness and merges fictional storytelling with video activism.

Jamal points out that the film was created “after the initial euphoria following the war had faded and as widespread socialism began to decline.”

He elaborates, “Our economy started to adopt more American characteristics after Margaret Thatcher’s era. Society shifted towards prioritizing business and profit, fostering individualism.”

“There were individuals who capitalized on these changes.”

Jamal illustrates this by depicting two characters in the film who are depicted constantly seeking to maximize their property profits while speculating on future values.

“The underlying ideology pushed for ownership, aiming to make people more pro-establishment as they gained a stake in society.

“It became a free-for-all—similar to today’s scenario for different reasons.”

He describes how the transformation in London resulted in a significant rise in homelessness, with many fighting for access to temporary housing.

Statistics from the Department of Environment indicated that by 1989, over 40,000 households in London were deemed homeless, a figure that had roughly tripled over a decade.

“Many people faced rapid homelessness,” he noted.

“Individuals you would never expect to become homeless. Even now, the temporary housing situation seems worse.”

He explains that during that period, a surge in interest rates led to negative equity for homes, leaving many unable to meet mortgage obligations.

“What we sought to portray was that it was everyday people finding themselves on the streets.”

“Not solely those struggling with addiction, but individuals with jobs.”

Ahmed recalls a poignant scene featuring a man in a suit who has fashioned a makeshift bed on the streets.

“That was quite unprecedented back then.

“I discovered that bereavement was one of the major factors contributing to this situation, which surprised me.”

The Retake Film and Video Collective, co-founded by Jamal, was engaged in collaborative independent filmmaking throughout the 1980s and 1990s, as part of a broader film workshop movement during a time of significant social change.

These workshops were recognized for producing issue-driven films across various genres—drama, documentary, and experimental—facilitated by organizations like the BFI, Arts Council, charities, and the newly created Channel 4.

“We united to confront the racism that pervaded during the Thatcher era,” Jamal explained.

He noted that many new immigrants from East Africa and South Asia had arrived, settled, and established themselves, but he “wanted to demonstrate that we were not merely minorities but integral parts of British society.”

“We aimed for our work to be well-integrated, reflecting our place in the community.

“Policies at the time, aimed at greater segregation, included funding for designated ‘ethnic minority’ initiatives like mosques for the Muslim community.

“In contrast, there might have previously been a multi-faith community center, which I believe played a role in the divisions we witness today.

“This, coupled with the racism encountered by many immigrants—as depicted in the film—led us to advocate for secularism and the core values of British society.”

Jamal questions whether those in temporary housing today are living lives any better than those in the past.

However, the challenge of accommodating a rapidly growing city with a decreasing housing supply appears just as pressing and unresolved 38 years later.

The BFI National Archive project aims to restore 14 films to recognize the cultural and political significance of the Black and South Asian British Workshop movement and its lasting legacy.

“Hotel London” is the first film to be released, with the remaining titles slated for release in the upcoming year.